Nazgol Ansarinia: Fragments, Particles and the Mechanisms of Growth
Nazgol Ansarinia presents the exhibition Fragments, Particles and the Mechanisms of Growth at KIOSK. Through drawings, collages, sculptures, murals and works in textile, Iranian artist Nazgol Ansarinia draws a portrait of everyday life in her native city of Tehran, and of her own position within that context. She grows along with a city that now counts almost 14 million residents and whose face is rapidly changing. As capitalism鈥檚 sway over contemporary Iranian society grows ever more pervasive, there is housing shortage, the real estate market booms, houses make way for towering new apartment buildings and shopping malls, which results in a vicious paradoxical cycle of construction and deconstruction.
Each individual is a link in this process of 鈥榞rowth鈥� and is, like the city itself, subject to certain underlying codes and dynamics. It is the tension between her personal experience and public, regulated life in Tehran that always surfaces in Ansarinia鈥檚 work: 鈥淚 have so many layers of memory from each corner of this city. Every part of this city is associated with memories from different stages in my life. I think that鈥檚 what makes this fast speed of construction so destructive in a way. It鈥檚 taking away our collective memory and individual memory with it. Neighbourhoods are changing so fast that they are unrecognizable. You feel lost when you can鈥檛 relate to a space.鈥�
The artist turns a social system, an urban development or set of rules inside-out, dissects and interrogates them in order to reveal a collective consciousness or feeling in their reconstruction. In her exhibition at KIOSK, for instance, she films and analyses the demolition of a building in Tehran and incorporates the 鈥榯races鈥� of the process as video and sculpture. The video work Fragment 1, Demolishing buildings, buying waste registers how the building was torn down with shovel and pickaxe in 16 days. It is an attempt to capture the moment in between demolition and creation, and it illustrates the notion that for each new building there is an equal amount of material that is being shoved aside.
Nazgol Ansarinia presents the exhibition Fragments, Particles and the Mechanisms of Growth at KIOSK. Through drawings, collages, sculptures, murals and works in textile, Iranian artist Nazgol Ansarinia draws a portrait of everyday life in her native city of Tehran, and of her own position within that context. She grows along with a city that now counts almost 14 million residents and whose face is rapidly changing. As capitalism鈥檚 sway over contemporary Iranian society grows ever more pervasive, there is housing shortage, the real estate market booms, houses make way for towering new apartment buildings and shopping malls, which results in a vicious paradoxical cycle of construction and deconstruction.
Each individual is a link in this process of 鈥榞rowth鈥� and is, like the city itself, subject to certain underlying codes and dynamics. It is the tension between her personal experience and public, regulated life in Tehran that always surfaces in Ansarinia鈥檚 work: 鈥淚 have so many layers of memory from each corner of this city. Every part of this city is associated with memories from different stages in my life. I think that鈥檚 what makes this fast speed of construction so destructive in a way. It鈥檚 taking away our collective memory and individual memory with it. Neighbourhoods are changing so fast that they are unrecognizable. You feel lost when you can鈥檛 relate to a space.鈥�
The artist turns a social system, an urban development or set of rules inside-out, dissects and interrogates them in order to reveal a collective consciousness or feeling in their reconstruction. In her exhibition at KIOSK, for instance, she films and analyses the demolition of a building in Tehran and incorporates the 鈥榯races鈥� of the process as video and sculpture. The video work Fragment 1, Demolishing buildings, buying waste registers how the building was torn down with shovel and pickaxe in 16 days. It is an attempt to capture the moment in between demolition and creation, and it illustrates the notion that for each new building there is an equal amount of material that is being shoved aside.
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